Portrait of an Emotion

4.4in x 3in Oil on meteorite 2009

Cognitive Selection

36in x 48in Oil and wax on canvas 2009

These images attempt to represent visually the shock forces that may be influential to perception, cognition, and interpretation by using the patterns in the meteorites as analogy.
Every meteorite is hypothesized to carry an imprint with unique patterns revealing its collision history. In the same manner that the meteorites have imprints, perhaps our brains are also encrypted by the powerful emotional disruptions experienced in life. If so, then the encryptions may have formed patterns responsible for our perception, cognition, and interpretations.
With this premise in mind, the painting "Portrait of an Emotion," uses the exposed patterns of the meteorite as analogy to depict the encryptions after experiencing emotional disruptions. For the sake of visual hypothesis, and for the fun of it, in the painting "Cognitive Selection," the red areas are a visual (and abstract) representation of the patterns of choices. In other words, they suggest that the freedom-to-choose may be limited to an established set of cumulative encryptions. Interestingly, the concept from these paintings may be incidentally aligned with German philosopher Schopenhauer's: Man can control what he wills but not how he wills. Meaning that emotions usually arise within an established set of patterns and our freedom to choose is defined within the parameters of the patterns.

Canis Major 3-D

3in x 4in x 6in Meteorite and rock 2010

Canis Major 2-D

54in x 54in
Oil on canvas 2010

Meteorite with Dots

2in x 4in x 3in Oil on meteorite

Meteor Shower

74in x 74in
Oil on canvas 2010

Hummingbird

7.6in x 9 in Oil on slate 2009

Traces of Hummingbird

48in x 36in Tempera and oil on canvas 2009

"...everything on earth has a purpose, every disease an herb to cure it, and every person a mission. This is the Indian theory of existence." (Quintasket, 1888-1936, p. 31) Salish
A hummingbird in native Peruvian mythology represents energy similar to the sun. The relationship to energy may stem from the hummingbird's fast motion. When in flight, hummingbird's wings move from 12 to 90 times per second, and their heart beats 1260 times per minute
(hummingbirdsociety, 2009). These paintings are about the invisible energy of the hummingbird. When the hummingbird is in flight, I visualize the trail of vortices. The painting "Traces of Hummingbird" is an attempt to depict those in-visible vortices.

Photosynthesis

48in x 48in Oil on canvas 2012

Time Dilation

48in x 36in Oil and wax on canvas 2009

Shell Fossil With Water Drops

5.25in x 5.5in Oil on shell fossil 2009

Big Bangs

36in x 48in
Tempera and oil on canvas 2009

Segment of A Fragment

1 3/4in x 2in Oil on meteorite 2009

Big Crunch

36in x 48in
Oil and Dorlan wax on canvas 2009

Patterns of Destiny

74in x 74in Oil on canvas 2011

Nothing Is Written In Stone

5in x 4in x 5in River rock, Jade and oil

Independent Variables

4.6in x 9in x 6.5in Meteorite, oil, and lava rock 2010

Patterns of Change

48in x 48in Oil on canvas 2012

Rose Garden II

48in x 48x Oil on canvas

Revisiting Poetry II

36in x 36in Oil on canvas 2015

Meditation

48in x 48in Oil on canvas 2014

Snow Patterns

50in x 50in Oil on canvas 2015

Motion / Chance

These paintings are about the interaction between the observer, the painting, and the source of inspiration. The technique is oils or acrylic either on canvas, meteorites, or slabs of stone. Most of the forms are made from field movement rather than by using brushes. In other words, motion and chance are responsible for most of the images. This process is reminiscent to how continuous data input may generate thought and meaning. I am allowing motion and chance to make the forms and leave the interpretation to the observer.

For example, as with life, in order to feel, one must experience; in order to generate thoughts, real or imaginary obstacles need to be present; and for rationalism and empiricism to surface, we need imagination. And the imagination usually comes from inspiration. All these appear to happen from continuous interactions within a moving contextual framework. By providing different sources for interaction in my work, the observer may experience, perceive, interpret, find meaning, and perhaps be inspired.

Technique

My source of inspiration comes from nature and color. Before I go to my studio, usually a hike is needed to find sources of energy and the appropriate colors. For this series I borrowed the blue from Crater Lake, and the whites from the snowy peaks of Mt. Ashland, Mt. Hood, and Mt. Bachelor.

The yellows came from the wild flowers at the coast, and the red from the Rose Garden in Portland. Green was taken from the Redwoods, and orange, pink, and gold from the lakes and rivers at dawn. The blacks came from midnight. At this time, inspiration came from the stars.